Con Roth has always adopted a cautious attitude. He lets time pass between one book and another and keeps an eye on it. You never know in what way dear Philip will end up giving you a beating, you never know which human weakness he will meticulously face. However, I am not able to read on tiptoe. I read "rolling" clumsily from one page to another, like an avalanche. A cautious avalanche. Practically an oxymoron with legs.

In this book, Philip patiently demolishes a man. He had demolished the Swede, Professor Silk, and now it's Ira's turn. I thought throughout the book of giving it 4 stars until the last pages gave me the coup de grâce and I ended up soaked like a machine in Roth's words.

I had forgotten to add something that I had noted down in a notebook on the train. I copy it here.

Never has the definition of a trilogy of books as a trilogy, despite the apparent diversity (that is, it's not a saga, it's not the usual topic, it's not so obvious to call it a trilogy, so I mean a somewhat hidden trilogy) been more accurate. I felt gutted by all three of these books. Mysteriously, "The Human Stain" above all. I clearly remember that I had difficulty reading it. It was really hard for me to go on page by page, a strange feeling, a very good drink that however scratched my esophagus. I read "American Pastoral" with the little Nano who was sleeping beside me. I looked at him and read and searched in his unspoiled profile for the seeds of abyssal distances. In short, I wondered what the process was from the child who fell asleep against my chest to the complete individual who could (hopefully not) turn out to be almost a stranger to me. Like when you look at yourself in the mirror every morning and at a certain point you have permanent dark circles and you wonder on which day they installed themselves with pebbles and little pebbles on your young face. Now it was Ira's turn. You like Ira, you want to justify him, forgive his shortcomings, his obtuseness, but you really can't. They are there, he is human, and they turn your boxes, because myths should never be stripped. And then I had a doubt. At a certain point, talking about Ira's brother, his old professor, Z says that he was the first to teach him to box with books, and now he was coming back to teach him to box with old age. Well, leaving aside old age (even though I often feel old inside, I'm not yet close to old age chronologically, so I'll think about it later), I wondered, but do I box with books? Or do I just admire them? To box, an important dialectical exchange is needed. God knows how many blows I have missed or how many I have not given. Pages and pages that have slipped through my hands.

Roth's "I Married a Communist" is a powerful and incisive novel that delves deep into the themes of betrayal, politics, and intimacy. It's not just a story of a man destroyed by McCarthyism, but a complex exploration of how love can turn to hate and how ideology can consume a person. The characters are vividly drawn, with Ira Ringold and Eve Frame at the center of a storm of passion, resentment, and ultimately, destruction. Roth's writing is masterful, as he weaves together multiple storylines and perspectives to create a rich and detailed tapestry of a bygone era. Through the eyes of Nathan Zuckerman, we see the tragedy of Ira's downfall and the power of memory to shape our understanding of the past. The novel is also a commentary on the nature of truth and the role of literature in a divided society. Roth shows us that the line between fact and fiction can be blurred, and that our personal biases and emotions can color our perception of reality. "I Married a Communist" is a must-read for anyone interested in American history, politics, or literature.

The story begins with Ira Ringold, a working-class hero and communist activist who rises to fame as a radio actor. His marriage to Eve Frame, a refined actress, seems perfect on the surface, but beneath the veneer lies a web of secrets and lies. When Eve writes a book accusing Ira of being a Soviet agent, their world is torn apart. Ira is hounded by the authorities and shunned by his friends and colleagues, while Eve becomes a pariah in her own right. As the story unfolds, we see how Ira's idealism and dogmatism lead to his downfall, and how Eve's resentment and desire for revenge drive her to commit an act of ultimate betrayal. Roth does an excellent job of showing the human side of these characters, making us understand their motives and sympathize with their plight, even as we condemn their actions.

One of the most interesting aspects of the novel is Roth's use of multiple narrators. Through the voices of Nathan Zuckerman, Murray Ringold, and others, we get a more complete picture of Ira and Eve's relationship and the events that led to their downfall. This technique also allows Roth to explore different perspectives on the same events, highlighting the subjectivity of memory and the importance of context. Another strength of the novel is its vivid portrayal of the political and social climate of the 1950s. Roth captures the paranoia and fear that pervaded American society during the McCarthy era, and shows how easily a person could be destroyed by a single accusation. He also explores the role of ideology in people's lives, and how it can blind them to the truth and lead them to commit acts of great cruelty and violence.

Overall, "I Married a Communist" is a brilliant and thought-provoking novel that will stay with you long after you've finished reading it. Roth's writing is powerful and engaging, and his characters are complex and fully realized. The novel is a testament to his skill as a storyteller and his ability to explore the deepest themes of human nature and society. If you're looking for a novel that will make you think and feel, then this is the book for you.

In the book "My Husband Is a Communist!" Philip Roth continued and developed the theme begun in "American Pastoral" - the pernicious relationships between mother and daughter - which are simply terrible here; between husband and wife; between stepfather and young girl. Some scenes made my hair stand on end because they were extremely truthful and painful - and that's why I love Roth insanely. I believe every word.

The abnormality of the mother-daughter relationship here is similar in degree to "The Piano Teacher" by Elfriede Jelinek. By the way, the daughter, Sylvie, is an artiste. If a "child" is over 23 years old and still lives on the parents' living space and is financially dependent on them, and is called by a diminutive and affectionate name - well, it's all quite understandable. We smile and nod. Some relatives should be sent far away once and for all; some "chicks" need to be forcibly pushed out of the nest; and some people who are not related by blood can turn out to be closer to us than our own...

The toxicity of the relationship between men and women, the intelligence and cunning of the female characters in this novel - is like in "Herzog" by Saul Bellow. And I like that; when women are not portrayed as weak-willed and stupid dolls, but are trying to grasp the whole essence. And of course, Roth writes masterfully about what happens when people who are not suitable for each other get married...

Communism here is more of a background; so if you don't especially like reading about all kinds of "parties", don't be afraid of the title.)

The story described by Philip Roth personally reminded me of the epic with the ambiguous memoirs of Corey Landau about Landau. Everyone has their own truth, and we will never know the whole picture, and we can slander anyone we want if we wish.

Well, and behind the curtain. This is Roth. This is cool. I recommend it.

This novel resembles the Pastoral Americana in that it follows the very same pattern: Nathan Zuckerman meets an old acquaintance, Ringold, who tells him the story of his brother Ira, of Ira's family, and of Ira's misadventures, closely linked to a piece of American history.

It is a good novel, with moments of great dramatic intensity, and it is a good "literary" historical testimony of McCarthyism. However, Ira Ringold is not the Swede, his story is not the story of all of us, and in some way the operation has not been as successful, the result is not comparable to that masterpiece which is the Pastoral.

Perhaps the author tried too hard to parallel the two works, or perhaps the subject matter of Ira's story simply didn't have the same universal appeal as that of the Swede's. Nevertheless, this novel still has its own merits and should not be overlooked. It offers a unique perspective on a particular period in American history and shows how the actions and decisions of individuals can have far-reaching consequences.

Overall, while it may not reach the heights of the Pastoral Americana, it is still a worthwhile read for those interested in American literature and history.

Meh.

Some parts of this story were indeed humorous, and it presented an amusing character. However, I find myself in need of a break from this particular genre.

This is white male author pop fiction, and while it has its entertaining moments, I believe that Roth does a better job than most in this regard.

Perhaps I've consumed too much of this type of literature recently, and my palate is craving something different.

Nonetheless, it's important to note that everyone has their own preferences when it comes to reading.

Some may thoroughly enjoy this kind of light-hearted and engaging story, while others, like myself, may seek more depth and complexity.

It's all a matter of personal taste and what one hopes to gain from the reading experience.

For now, I'll take a step back and explore other literary avenues to satisfy my thirst for knowledge and entertainment.

“Casei Com Um Comunista” (1998) is the second novel of the so-called American Trilogy, together with “Pastoral Americana” (1997) and “A Mancha Humana” (2000) by the writer Philip Roth (b. 1933). The narrator is his alter-ego Nathan Zuckerman. Roth, through an incisive and imaginative narrative, writes about one of the most动荡 periods in the history of the United States, the post-World War II era in Newark, New Jersey. He explores the “threat” of communism in American society, especially its “infiltration” in numerous labor, economic, and educational activities, and particularly in the world of entertainment. This was a form of suppressing ideological freedom of expression, accentuating conspiracy theories, and a collective hysteria perpetrated by the conservative and reactionary right, which culminated in the so-called “McCarthyism”.

“Casei Com Um Comunista” is a disturbing novel, an emblematic narrative about the rise and fall of Ira Ringhold, or Iron Rinn. He is a fascinating, ambiguous, passionate, and idealistic character. Just like in “Pastoral Americana”, the narrator is Nathan Zuckerman, who meets his former English teacher, Murray Ringhold, the brother of Ira Ringhold. Ira is a rising radio star who marries the famous silent film actress, Eve Frame. The story of Ira Ringhold is constructed and revealed through the memories of his brother Murray and Nathan himself, a shared narrative that takes place in late 1990. They lived with Ira since youth and the story seeks to determine the “truth” about him, but it also becomes a profound reflection on ideological idealism, love and betrayal, family conflicts and vengeances, and culminates in dramatic revelations.

Several literary critics associate the character of Eve Frame with Philip Roth's ex-wife, the English actress Claire Bloom. Their relationship began in 1990 and ended conflictually in 1995. The novel “Casei Com Um Comunista” offers a captivating and thought-provoking exploration of a complex era in American history and the people who lived through it.

“Definizione di: è scritto da dio” can be translated as “Definition of: it is written by God.” This phrase implies a sense of divine authorship or inspiration. When something is said to be written by God, it suggests a higher power or a supernatural origin. It could refer to religious texts, such as the Bible or the Quran, which are believed by many to be the word of God. However, the concept of something being written by God can also be interpreted more broadly. It might refer to any work of art, literature, or music that is so profound and beautiful that it seems to have a spiritual essence. In this sense, the idea of “è scritto da dio” can inspire us to look for the divine in the world around us and to appreciate the beauty and wonder of creation.

I don't think this is a novel merely about communism, McCarthyism, or whatever.

Obviously, the best pages of this book are those concerning the Ira family: Ira, Sylphid, and Eve. I believe these are the very reasons why this book was written in the first place. Perhaps some aspects of Roth's personal life and a sense of revenge were involved. I don't know and truly don't want to. But as a work of literature, this is the part of the book that is captivating.

By the way, Ira is a female Russian name (not just an Irish party).

The book is about how people's lives are being ruined. Virtually every character's life in this book is damaged in some way. Whether by idealism, treason, ignorance, guile, or something else.

And the answer as to why is on the last four pages - because this is what life is. It shows the harsh reality and the various forces that can impact and disrupt people's lives, making us reflect on the complexity and unpredictability of our own existence.

When I have a reading block, it always works to resort to a safe bet: I have a small list of writers who never fail and fortunately, there is still a lot of Roth ahead of me.

I was missing to read this volume of the American Trilogy because it is the least praised, but it is 100% Roth and I think that if it doesn't have as much pull as the others, it's because of the weight of politics in the plot. For me, it's an incentive. Communism in 1950s America, class struggle, racism, anti-Semitism and brutal family dramas, all mixed with the rods of a fluid and clean prose.

\\"The man who taught me to box with a book has come back to show me how you can box with old age. And that is an amazing and noble skill, for nothing teaches you less about old age than having led a vigorous life.\\"

Roth's works are like a treasure trove. They not only offer deep insights into various social issues but also present a vivid picture of different eras. This particular volume of the American Trilogy, although not as highly regarded as the others, still has its own charm. The exploration of communism and its impact on American society during the 1950s is fascinating. It makes us think about the complex relationship between politics and people's lives. The addition of family dramas further enriches the story, making it more relatable and engaging. Roth's writing style, with its fluid and clean prose, makes it a pleasure to read. Overall, this book is a valuable addition to any Roth fan's collection.

A truly excellent book that takes place in 1950s anti-communist America, thus serving as a very good introduction to the subject. It is also excellent for demonstrating how this kind of "trend" can draw in a lot of young people for the wrong reasons. It is a good book about manipulation at different levels and on different topics. It is a political, psychological novel, but also a very good book about the family. It is excellent and very intelligent. Philip Roth has a sharp tongue and doesn't mince words when expressing what he thinks. I am even more eager to discover his other books.

\\"I Married a Communist\\" has a major limitation in that it was written right after the masterpiece Pastoral American and in many aspects retraces its inspiration and method. Here too, we have a protagonist whose rise and rapid fall is narrated with acute participation and the narrative point of view from a secondary character but for a good part a direct witness to the events (incidentally, the same character Nathan Zuckerman). Ira Ringold has many analogies with Sherman, \\"the Swede\\" the protagonist of Pastoral American, the same naive trust and physical presence, the same tendency to absolve himself for his own mistakes and the difficulty in foreseeing the traps of destiny.

Naturally, as the title itself implies, here the political aspect is more direct and the years of American life that serve as the backdrop to the story are those of the expanding McCarthyism instead of the years of the Vietnam War in which the central story of Pastoral takes place.

Finally, the aspect that most links the two novels and unites the emotional participation they induce in the reader consists in the narrative artifice by which already from the beginning it is known, despite ignoring the details, that for the protagonist the destiny has been adverse and life has suffered, in the course of its narration in the text, setbacks and defeats after the initial enviable success.

Therefore, \\"I Married a Communist\\" suffers a bit in comparison with its excellent predecessor and there is some excessive slowing of the narrative rhythm in the description of Ira's communist comrades or ex-comrades; however, very engaging is the disenchanted look that Murray, the now ninety-year-old brother, casts on the story and especially on the political backdrop and on the destiny of the apparent winners, the Grants and above all Katrina Grant, framed within the context of the funeral ceremonies of Nixon, in an overall vision emblematic of the world and the decidedly illiberal political period of the time.

I recently discovered Philip Roth and was excited! Why did I wait so long?

Another literary goal was set: to read all of his works!

Here are a few words from me about the above gem...

It's a deeply political and human novel that deals with betrayals of ideologies and people. It's a human geography of America during the McCarthy era that defined the Cold War.

Often, the 7th art of cinema is the best opportunity for someone to turn to literature. There, one will find the "gaps" that the big screen cannot cover. There, one will see the reason of the creator-author and will be impressed by his wealth. This is exactly what happened to me, with the rather belated "discovery" of Philip Roth through the latest adaptation of his work to the big screen. "Indignation" led me to his important Political Trilogy and specifically to the second part of it, which refers to the McCarthy era.

Two narrators in a story that hides the utopia of human dreams and the influence of politics on their realization. The 70-year-old Nathan Zuckerman, the literary alter ego of Roth, meets one of the people-mentors who determined many choices in his life: the teacher, from his high school years, of English literature, Murray Ringold. In 6 nights, the events of the troubled 1950s will be revealed to us, but also the secrets of a family that fell "victim" to politics and the illusions of the ideologies it supported.

Roth is fascinated by the life of a man who managed to realize the American dream. From a middle-class industrial worker, he became a star of Hollywood, without, however, denying his ideological commitments. How can such a man survive in a society where the lights of publicity are constantly on him?

The story takes place in the early years of the political phenomenon of McCarthyism. A crazy era of internal fear of a possible communist infiltration into the United States. The House Un-American Activities Committee and its "blacklists" changed and determined the daily lives and the lives of many people.

One of the great chapters of the above political action was the persecutions of many artists. The obvious reason was their supposed subversive communist ideology, but the real reason was the filming of Hollywood and its representatives. The creation of films that showed the true face of the country, realistically documenting the reality and the problems of the then society, was an unwanted call for social and political change. The liberal politics of Roosevelt's New Deal made many people in the Arts believe in a truly democratic and liberal America. But how can such a thing happen when even the Blacks do not have the right to vote and representation in politics? The decades that will follow will be full of intense political upheavals and perhaps our hero was only a link in a chain of many lives that would change.

Deeply impressed by the flow and the quality of Roth's language, I followed the analysis of personalities and characters from all social and ideological classes in America. The shaping of the characters with unique accuracy, from the external appearance to the emotional intensity, places Roth not only among the ranks of the great American writers but also among important anthropologists and excellent character designers.

I read many reviews about this work and its possible references to the author's personal life, to issues of "revenge" for some writings of his former wife. But I will not stay on that. Roth does something beyond that. In an era (1998), just before the end of Clinton's term and the rise of the populist Bush, he reminds American society of important pages of the history of a country that, willingly or not, defined the 20th century with its political choices. Unfortunately, Roth reminds us that his compatriots forget very easily and repeat mistakes, without considering the impact. How ironic and relevant is the above statement?

The characteristic of the absurdity of human betrayal prevails on every page of the book. From the countries of the Bible to the works of Shakespeare, betrayal in all its forms is the key element of human life. J. Edgar Hoover finally completed the concept of betrayal, boxing in all of America!

So, will man not be able to escape or better overcome himself and his passions?

Philip Roth leaves nothing upright (and he does well)!

Prolific and highly awarded, with the top international Man Booker International Prize in 2011 for his entire body of work, he is one of the most important American writers. His works, with the themes that concern him, are the best reading guide of a multifaceted country with a rich past as well as a future. "I wanted to write about things that seemed important and the things that seemed important were the things I didn't know," says one of the heroes of the book. Roth is again a rather good connoisseur and critic and we are lucky to have such works in our hands! But, if we return to the initial position of the above review, it would be good after reading the book to see two excellent related films: "Good Night, and Good Luck" and "Trumbo".